Dear Dude,

I started playing guitar mainly because I heard Eddie Van Halen’s ‘Eruption’ and nearly creamed. The first songs I learned were Van Halen tunes, and within 3 months of playing I was already really good at copying Ed. Over time I learned tremolo picking, pull off’s, hammer on’s, legato, wah wah, and most recently sweep picking. Now that I write my own solo’s though, I seem not to utilize these techniques to their fullest extent, only using the most basic forms of them. For example, I have a chord progression that goes “minor chord, major chord, minor chord, major chord” and I play the respective sweeps an octave up, but compared to sweeping I hear in metal today, it sounds novice. This seems to be the problem with all of my solos; they have more melody than technicality. I look to guys like Dimebag, and hear him seem to go completely nuts, but still sounding in key, compared to when I let my fingers go crazy, its a mess. I know scale has a lot to do with it, but at high speeds, it’s a mess. Do you have any tips on how to better combine speed, technicality, and melody?

Thanks,

5150 Fan

Dear 5150 Fan,

There are a lot of us out there who heard Van Halen’s Eruption and fell in love with the guitar. Although I have never been able to have a sit down with the big man I know from just about every interview I have read that he wants you to be you so he can be him. So, I am truly stoked that you took your love for Eddie out of the cover band world and are trying to incorporate it into your own playing. I mean that is after all, the point right?  Anyway, here’s a hint, a lot of dudes struggle with this problem and even more importantly almost everyone struggles with incorporating new techniques and styles of others into their own at one point. Honestly, that struggle is part of the joy of playing an instrument. But for you, I have some proposed suggestions that might just push you along to writing some different types of solos.

Ok, no offense but playing the sweeps an octave up over the chord progression IS actually kind of amateur compared to the types of sweep picking that’s out there. If you want your solos to have sweeping and shredding for flash value, well then you are going to have to step your game up. But if you are sweeping those octaves up for some melodic purpose it could all work. It’s all about your intentions as an artist and from the sound of it you’re trying to intentionally write intricate shredding parts. So the first thing I suggest you do is make a list of maybe 10 solos you think sound the way you want your solos to sound. I know they’re out there and a few may be VH solos, but the trick is finding solos of other artists who have a VH vibe but are still different. For example, Michael Schechter, Dimebag Darrel, Zakk Wylde, Steve Vai, Joe Satriani, and Randy Rhodes are a few. You can hear a little of Eddie’s style (or at least similar moves) in all of their playing. But, the above guitarists rarely sweep arpeggios (I must mention Marty Friedman who doesn’t have a VH vibe at all but can sweep the fuck out of an arpeggio). That’s why I like to add a few newer artists. I suggest Alexi Laiho (Children of Bodom), Ben Weinman (Dillinger Escape Plan), Doc Coyle (God Forbid), and Douglas Sabolick (A Life Once Lost), to name a few. After you have your list go out and get the tab for those songs (I use guitar pro or power tab and just goggle the song name or the artist, its free). After you have the tabs for your top 10 then you have one more step, listen. Go note for note with those solos and study how they work. Listen to how the rest of the music changes under and around the solo. The key here is to study the way other guitarists move ideas into their playing. I promise you learn a run or two here and there and it will lead you to something new, it always does for me.

Suggestion two, this one is a bit easier but involves you being able to record yourself. A good way for me to come up with solo or run ideas is to sketch them out first so that I can find something I sort of like and then take the time I need to develop it. A lot of times I record many different versions of riffs that are played just terribly. The idea is that if I find something I like I can go back later and work out each note when I have the time. It’s sort of like sketching out a painting before you go in and paint it all. I start by building a drum loop, you can use any program you want or just use a click track (although the vibe is all gone for me unless there is the sound of a kit). Take that beat and record your rhythm track or just a chord progression (it can be any progression, just make it up, THAT’S THE EXERCISE). Once you laid down that progression try improvising a few times over and over. Once you hear a theme, rhythm, or voice you like stop and repeat until you get the idea clear. Sounds crazy but it does help me think of new ideas. Most importantly I think it’s a good way to add the feel and sound of improve. Most of Eddie’s solos were made up on the spot one or two takes according to most everything I have read. It’s that kind of feel you want to add to your solos too. So experiment with sketching the solos out a bit that way you can do more then just copy the arpeggios an octave up because you have to time to figure out all the note choices.

Whenever I have been confronted with this type of situation I have always looked to one of these two techniques to get me by. Studying other guitarists and the way their solos sound is key learning how to open up your playing. Improvisation is your best friend when it comes to learning how to break the rules you set on your self. As I said in the beginning you got to be you, if you keep studying what other dudes are doing and pushing yourself to try new things, it wont be long till you find your own little combination of sounds. Then your not to far from your name coming up on a list of guitar players to goggle!

The Dude  

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Dear Dude,

I am the screamer in my Metalcore band. According to everyone that hears the band live, my vocals sound amazing (I’m working on my Darkest Hour-style screaming). But, when we go to record our stuff in our home studio, I just can’t seem to replicate the sound. I mean, the studio recording doesn’t sound bad, but it’s not as good as it can be. I need it to be the best it can be when we record our demo in a professional studio. How can I work on this? Do you have any tips? Thanks Dude!

Thanks 

Screamer With a Vengeance

Dear Screamer With a Vengeance,

Metal style singing (or as most refer to it, screaming) can be very hard to master. Now, to the untrained ear metal singing might seem just like thoughtless yelling, shit I wish I could tell you all the times some idiot told me the singing in my band was just noise. If you don’t get metal you don’t get it, simple. But, to the countless metal/hardcore/punk fans out there this style of singing or screaming moves them like no other.

Lets get this out of the way, I really can’t sing but I have had the lucky fortune of hanging and working with some of the sickest singers in punk/metal/metalcore today. So drawing from this and my 15 or so year love affair with this style of singing I will give you my thoughts.

It sounds good live why doesn’t it sound the same recorded?

Ok there are a lot of things that could factor into why you don’t think it sounds the same live as it does on the recording. I mean lets first look at who is telling you it sounds good. I mean who are they? Where are they standing the room? How loud are the vocals in the mix? Are they distorting in the PA? Are the super compressed or have a ton of effects? The list could be endless. There is really no way to know what it sounds like live, well no way other then record it. Its always good to record your band live. Video or audio both is good. I know a lot of bands that NEVER watch video or listen to audio of their performances. It’s a shame you can learn a lot about your band, live show, and overall appearance by watching or listening to recordings of your band live. So try recording that live set and listening, because you need to KNOW what it sounds like not hear what others think it sounds like.

The Home Studio.

I know most bands that are just starting out don’t have the capabilities, money, or time to record themselves live. So the second best option is to record at home or at the practice space. Recording yourself is great practice and is something that every band should get into. Just remember that the style and quality of the mic and recording gear you’re using will affect the overall sound. Make sure you’re recording with a microphone that isn’t clipping (or distorting). It’s ok to add distortion when you want the desired effect, but if you want to know what your voice sounds like you have to hear it clean. Make sure you’re not moving it around and make sure you’re singing into the microphone in a consistent manner (I usually never let a vocalist hold the microphone in his or her hands. Putting the microphone on a stand gives you the ability to record with more clarity and less noise).

Ah compression!

Other then reverb or delay the main effect that most metal vocalists use on their vocals is called compression. Basically it flattens (or compresses) your voice making it sound more even and consistent (it also can add gain or distortion both of which work well in the context of metal vocals). If you had any kind of decent soundman live your vocals would have been compressed. If you’re recording at home and using no compression then they will sound very, very different. So mess around with the compression offered in all those recording programs you’re, using it will make a big difference in the overall sound on your demos.

Oh shit did I mention practice?

Oh yeah, you want to know the real simple answer to your question, practice. That’s how you’re going to get ready for this recording. You’re already on the right track recording yourself and laying down demos. But if you want this recording to be sick, well then your going to have to practice your ass off. When go time comes all you want to worry about is nailing the take the way you want it. Now practicing metal vocals is hard. I know a lot of dudes who practice with a stereo turned up real loud in the next room. I mean there has been at least two instances in my life when cops were called because someone heard vocals they thought where screams of pain! And I know a lot of singers who spend time after practice using the practice space to sing with headphones on. Look its gong to be embarrassing when some people hear you just screaming your ass off to no music. But who gives a fuck? I think there are too many metal singers that are afraid to own the instrument the way they should. I mean shit do you love metal? Well then fuck it you’re a metal singer so what if it seems crazy to the rest of the world that you scream. I get it, everyone who loves metal, we get it, so sing on and practice hard.

In the end vocals are just another instrument and that means you have to look at them as one. It takes hard work, determination, and more hard work to make them sick. So get in your home studio, practice space, bathroom or wherever else you can scream and start working. Forget about what people say it sounds like live and worry about what you know it sounds like now. Think about it the John Henrys, Thomas Lindbergs, James Hetfields, and Ozzy Osborne all started singing at some point and probably faced the same hang ups and problems you are. I am confident if you take the time to work and experiment with your metal singing you will find that unique voice that’s all your own.

The Dude 

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Dear Dude,

Muchas gracias for all the solids you’ve been doing to the aspiring shredders, I have been a big fan for a while now. My question is somewhat depressing. Basically I’m wondering when it’s time to give up on the dreams of rock? I’ve been putting all of my eggs in the metal basket for the past 10-12 years and nothing has ever really gotten going on. I’ve been in decent bands that broke up early, auditioned for touring bands but never got the gig, and I’m still never done even that one show I can look back on and be real proud of. I’ve sort of seen how most dudes have that initial bit of metal success from at like 20 years old, and at this point I’m breaking thirties door down-it’s hard cause it seems like everyone around me has gotten to do some awesome tour, or went some cool places, played with some good bands, drank some free beers, hooked up some with girls, or anything like that. I have nothing to show for any of my work except some unsold shirts and demo tapes from bands that broke up prematurely. At this point I’m basically a 30-year-old college dropout, with no skills or future prospects to speak minus my epic failing attempt at rock. Should I keep trying, or is it time to permanently shift gears into being a “fan” instead of “aspiring rocker?”

Thanks,

Too Old To Rock?

Dear Too Old To Rock,

Feel like your age is a fuse in the time bomb that’s your life? Guess what, I do too. In fact almost everyone I know who rocks for a living feels that way. So, rest assured you’re not alone and these feelings you have are not uncommon. It may even surprise you that many fellow dudes who are in some of the biggest/hottest metal core, metal, punk, hardcore, bands feel the same way as you. Look, my answer to the big question is, “Dude come on you know you’re never to old to rock!” But I know you all are going to think its just not that simple, so let me throw a few thoughts your way.

Musicians Best Friend: Perspective:

It’s a no brainier that in life to be successful you need to keep your perspective. The same holds true for music. You need to stop thinking about success in only one way. From your letter it appears that you define success as doing some awesome tours, going to cool places, playing with awesome bands, and fucking groupies. In the same letter you refer to your demos and unsold T-shirts in a way that implies failure. Dude, do you know how hard it is to get songs together and record one demo, let alone a few? It takes work, and it is an accomplishment. Besides being a tool to tour, party, and fuck chicks music is about artistic creation, artistic progression, and most of all (yeah MOST OF ALL) artistic expression. Did you express emotion, push yourself creatively, struggle to work those songs out, and beat yourself up while you recorded it? Chances are you did at least a little and that my friend IS success. There are plenty of people in the music world that look at Darkest Hour as a failure and some people that look at it as a huge success. But it’s all bullshit, look the grass is always greener. It’s a cliche expression but guess why; it’s totally true. Almost every band I know wants to be as big or as successful as some other band. It never ends. It can drive you and your band to insanity. That’s why no matter where you are in your musical career, be it the beginning or knee deep in the middle, you always have to keep some perspective in your back pocket. Trust me, looking at things in a different way is the first step to taking you somewhere new.

Define Those Goals:

Damn does some of this shit sound like school? Well, it’s because a lot of those same skills taught in school can ACTUALLY help you in real life! As with anything in life to be successful you have to define your goals. So you have presented me with, “do some awesome tour, go some cool places, play with some good bands, drink some free beers, and hook up some with girls.” Let me redefine those for you, how about, “record a new demo of your most killer material (spend more time and work as hard as you can), get a few local shows to work out the band live, and finally secure one national tour or record deal.” It may seem really vague but you got to start somewhere. Its obvious you want to tour, see the world, party a little, and live the life. Sure that’s actually an honest goal. But, the touring is the medium in which you present the tunes, if the tunes don’t connect with people your never going to gain fans, so touring is pretty much pointless. Define those goals because knowing what you want to do is the first step in actually doing anything.

I mean how hard are you working, really?

I understand as you get older life takes over. You have to get some kind of job, support yourself in someway, and hey just act like a fucking adult… I mean you are one. But that doesn’t mean you can’t find time to practice and continue to grow as a musician. Those demos you’re talking about could be the sickest shit ever or just fucking terrible. But either way your old enough now to realize that you can always get better, always grow, always adapt. You have to ask yourself, how much time do I spend trying to develop my musical ability? If the answer is actually only a few times a week, then dude you need to try harder. Yeah, sounds like stupid advice, but think about it, the more you practice the better you’ll get. The better you get, the better your chances of fulfilling any of the above goals (well, maybe not the whole groupies thing). I am a firm believer that music gets better with practice and it is of course that one constant that will always help you.

Persistence, guess what this shit sucks?

Ever read the lyrics to AC/DC’s “It’s a Long Way to the Top (if you want to rock and roll)”. Well, I think every dude that goes on tour should. Here is the real truth, there is no guarantee that if you try EVERYTHING you will get to be a big ass rock star. The reality is that being in a band sucks a lot of the time. It doesn’t have to, but it’s just the nature of most musicians to be miserable. So, you have to be persistent, become a hunter, or my favorite expression “be the ball!” Yeah its from the movie ‘Caddyshack’ but it just means become one with your goals and aspirations, become one with the universe, or simply fucking keep trying.

Perpetual Motion: What new have you tried this week?

You have to always be trying, searching, and reaching. If you want to make things work you have be willing to try. And if you’re willing to try you also have to be willing to fail. The question posed is, what new things have you tried this week? Some of the best advice ever given to me on guitar was to learn something new every day. This can also be applied to your career, so keep trying new things, new avenues, and new directions. Because if you’re doing that new doors will always open for you.

Mick Mars and Huey Lewis:

What do Mick Mars from Motley Crue and Huey Lewis have in common? They both started their careers at somewhat older ages. Mick Mars was 30 years old when he reinvented himself and joined Motley Crue. Huey Lewis, also a late bloomer found success much later in his life then the average rocker. If it can happen for them it can happen for you. So keep trying, work hard, keep perspective, and remember it’s all about the tunes!

The Dude

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